Shape Handheld Camera Cage for Sony A7 III and A7R III
Sony a7III shutter latency — EFCS (Jim Kasson).
2018 National Geographic Travel Photographer of the Year (National Geographic).
Commlite High Speed EF to E Mount Adapter Review | 4K (Dustin Abbott).
The BEST Lens for SONY Cameras (Jeff Remas).
Real World Sony A7III Review with Canon Lenses (Julia Trotti).
Wireless Microphones for Every Occasion (Explora).
Toby: “I made an review of the new Meike 25mm f/1.8. here you have the Link https://youtu.be/2fahrajFhMQ Im from Germany so it isn’t the very best English but I think everyone will understand it.“
Good examples of how awesome the video AF is now on the series 3 as all AF not MF. Transitions from above to below water were super hard before.
If you are looking for a small yet professional set of cine prime lenses to complement your Sony E-mount camera, SLR Magic’s MicroPrime Cine lenses might be just what you’re looking for. Offered in four different focal lengths: 25mm T1.5, 35mm T1.3, 50mm T1.2, and 75mm T1.5, you will have wide-angle to longer focal lengths covered.
SLR Magic MicroPrime Cine 50mm T1.2
Since these are designated as “Cine” lenses, they have a few features that separate them from their non-cine MicroPrime brethren. All four of these lenses share the same length, outer diameter, and focus/iris gear positioning. This makes switching lenses easy, as any lens-dependent accessories, such as matte boxes, follow focuses, or lens motors don’t have to be moved in relation to the camera. Speaking of lens gears, all four options feature cinema-standard 0.8 MOD gearing on their focus and iris rings.
SLR Magic MicroPrime Cine 35mm T1.3
Optically, the MicroPrime Cine lenses feature the same design as the well regarded non-cine MicroPrime lenses. They are fast, as mentioned above, with a maximum iris setting of at least T1.5 across the set. If you need to shoot in the dark, open up the iris. For brighter scenarios, the MicroPrime Cine lenses can be stopped-down for sharp images that can take advantage of high-resolution sensors in the current crop of E-mount cameras.
For more information on these lenses, as well as pricing and availability, check them out the B&H website.
One of my best sources confirmed that Sony’s priority is to launch new high quality primes for the Full Frame E-mount. That’s their focus on the lens roadmap. The source didn’t tell me what these lenses are but from other sources we heard these lenses are in development:
24mm f/1.4 GM 135mm FE GM 500mm and 600mm f/5.6 200-600mm (zoom)
I am sure there is also some more lens on the roadmap. Do you have any wishlist?
Today Cosina Japan announced the new Voigtlander 50mm f/1.2 M-mount lens. You can use it adapted on any E-mount camera. But the chances are good that Voigtlander will announce a new E-mount version of this lens sometimes in the near future. Would be amazing or not?
This is the google translated press text from the Japanese site:
● Outstanding optical performance, adopting aspheric surfaces on 4 surfaces By making both lens surfaces of two of the eight lenses aspherical, we realize both high-quality image quality and large aperture.
● Compact style Reducing the vignetting of the range finder by shortening the total length while having a large aperture of F1.2. Lightweight handling is realized with weight 347 g (excluding accessories).
● Optional bayonet type hood A beautiful metallic bayonet hood rich in durability is available as an option. You can choose from two types of compact type LH – 8, newly released LH – 10 with higher light shielding ability, you can choose your favorite type.
● Manual focus allowing reliable focusing operation By adopting a total metal helicoid unit machined and adjusted with high accuracy and high quality grease producing moderate torque, smooth operation feeling is realized. It enables delicate focus adjustment.
Built-in rangefinder system Seamless focusing near the aperture stop is possible by the high precision range finder interlocking mechanism.
● Full-size image circle We reserve an image circle of surplus that corresponds to 35 mm size full size. In addition, compared with the interchangeable lens for single lens reflex, it realizes a very compact style.
I Got a New Lens! | Sigma 16mm F1.4 & is APS-C Dead?
I Made an Eyeball Camera Lens (It works) by Mathieu Stern.
Canon User Shoots on Sony! Sony A7II Review (Julia Trotti).
Dinorwic Abandoned (Sony a7R II, Samyang AF 24mm f/2.8 FE) by Christopher Frost.
Deity SMic Original 2 (Personal View).
Sony FS5: High ISO Performance, Exposure Recovery, and Sample footage (LensProToGo).
Understanding Exposure, Part 3: Shutter Speed (Explora).
On top you can watch Kai’s take on the Sony A7III. And Imaging Resource published the final A7III review conclusion:
Sony keeps knocking it out of the park with their full-frame mirrorless cameras. Each generation gets better and better, and with the A7 III, especially, they’ve created an impressive all-around camera with professional-level image quality, performance and features, while at the same time maintaining a price point that’s attainable for a lot of photographers. Sure, if you need more resolution, the A7R is there; and if you need crazy-fast burst speeds, the A9 is waiting. But you’ll pay a lot for these upgrades. The Sony A7 III, on the other hand, is all about balance; it’s a “Goldilocks” camera in a way. The A7 III offers such a well-balanced mix of performance, quality and features that it suits many different types of photographers and many photographic disciplines, and it’s worth the current ~$600 premium over the Mark II model in our books. As we said earlier, if you’ve been pondering the move to a mirrorless camera, especially full-frame, the Sony A7 III should absolutely be at the top of your list. As you can guess, the Sony A7 III definitely gets the thumbs-up as a Dave’s Pick!
